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IN 



MADAME HERMAN'S 



NEW METHOD OF 



&Mm§ Wm lt©u»§. 



WITH PRACTICAL ILLUSTRATIONS. 



The same method which has been taught so successfully 
in New York to all her pupils in three hours' time. 



f^loc 






This Book and an entire Set of Moulds may be had for 
$2.50, from the author's address, 

MADAME HERMAN, 

ff$ West 4.1st Street, JVe»> Tori- City, 

Who will be happy to explain anything which would not 
be generally understood. 






\ l 






Entered according to Act of Congress, in the year 1873, by 
Madame Herman, in the Office of the Librarian of Congress, at 
Washington, D. C. 







€@MTM$fT8< 



General Remarks 6 

Chapter 1st, Name and Manner of Using the M ■■•.. !a 8 

2d, The Rose and Bud 10 

3d, The Pond or Water Lily 13 

4th, The Lily of the Valley 16 

5th, The Morning Glory IS 

6th, The Dark Clove Carnation 20 

7th, The Tuberose 22 

8th, The White Camelia 24 

9th, The Fuschia 25 

10th, The Sweet Pea 28 

11th, The Green and Autumn Leaves 30 

12th, Concluding Remarks 32 

13th, Price List of Materials 33 



PREFACE 



Being convinced that the present book of instruction 
in my new method of making wax flowers would be ac- 
ceptable to my pupils and others who wish to become 
acquainted with this beautiful art, has induced me to pub- 
lish the following chapters. 

This book has been made more particularly to supply 
the wants of persons living at a distance, and who can 
not come to this city to learn this method. 

Any one with the " love of the beautiful " can not but ad- 
mire well-made wax flowers which resemble nature so well 
that many persons are daily deceived by them, mistaking 
them for natural flowers ; they are well adapted to deco- 
rative purposes, and nothing is more pretty for presents 
than wax flowers. 

Careful attention to my course of lessons with the vari- 
ous plates accompanying them, will enable any one to 
learn my method in less hours than it takes to learn the 
old way in as many weeks. 

The expense of the materials used being so little that it 
enables everybody to learn it, and will be appreciated by a 
look at my price list, giving the best quality of everything 
used, at a much smaller price than can be had from any 
wax-flower artist's place. 



GENERAL REMARKS. 



As all the flowers made by this method are made of 
melted cake-wax, it requires a lamp to melt the wax; 
the lamp I use is well adapted to that purpose; it is 
a small tin lamp put on the table, and burning alcohol ; 
it has one or two burners, according to the size. 

A few tin cups are necessary. They may be had from 
any tin shop at a cost of about 5 cents each ; four or five 
of these will be sufficient. 

The white cake-wax must be put into the tin cups, say 
1 or \h cakes in each. For white flowers, no colors or 
preparations are necessary, as the wax, when melted, will 
be beautifully white, if the pupil is careful not to let it 
boil. 

Never let your wax boil, as it spoils it. When all the 
wax in the cup is melted, it is ready for use, and must be 
taken off the lamp, and when it gets cool, put it again on 
the lamp. 

The sheet-wax is necessary for green and Fall leaves, 
and also for the yellow centres of Pond Lilies. The green 
sheet-wax is also used for covering stem wires. 

The colors used are all marked in the price list, and 
are in small bottles. The various colors are scattered in 



the different cups, thus coloring the wax. It requires 
about one-third of a bottle for coloring a tin cup full 
of wax. 

The most necessary cups of colored wax are : 

A cup of rose colored wax for roses ; 

A cup of yellow colored wax for tea roses, centres of 
tuberoses, etc. 

A cup of pure wax for all white flowers, and 

A cup of green wax for several purposes. 

The other colors are used dry with a small brush. 

The Kremitz white is used for making a beautiful azure 
of the Prussian blue, and otherwise to make all colors 
lighter. 

Mixing Burnt Umber with any color makes the said 
color darker. 

Stamens are the centres of Morning Glories, Fuschias, 
etc., and are of different colors. Only six varieties are re- 
quired. 

Stem-wire is used for the stems of all flowers, and is 
already cut and put in packages of one ounce ; they must 
be covered with strips of green sheet-wax ; a little prac- 
tice will.be found necessary to cover the wires quickly. 

Spool-wire is useful for the stems of green and autumn 
leaves; it is much thinner than stem-wire, and is covered 
with green cotton. 



CHAPTER I. 



NAMES OF THE MOULDS AND HOW TO USE THEM. 



Figures 1, 2, 3 and 4 are the moulds used for the 
Pond Lily. 

Figs. 5 and 6 are for making Roses. 

Fig. 7 is the Morning Grlory mould. 

Fig. 8 is the Carnation Pink mould. 

Fig. 9 is the Lily of the Valley mould. 

The moulds must be put into a cup of cold water and 
remain there about five minutes before using. 

They must be out of the water when not in use. 

Every mould is used by dipping it into the hot wax and 
taking it out instantly. 

Taking, for instance, the smallest Pond Lily mould 
(Fig. 1), by the wire, you dip it into the hot wax, and in 
taking it out instantly, you turn it, so that the drop of 
wax which otherwise would remain on the middle of the 
leaf goes to the end of it. Then you place it into the palm 
of your left hand and slide it gently, so- that the hot wax 
(already cool) will remain in your left hand apart from 
the mould. Fig. 10 shows the way to take the wax off the 
mould ; thus making a small Pond Lily leaf. 

Before making another leaf, you must dip the mould 
into the cold water to prevent the wax from sticking to 
the mould. 

Be careful not to let any drop of water fall into your 
hot wax. 



PLATE I. 







Fie:. 1. 



Fiff. 2. 



Fiff. 3. 



Fig. 4. 





Fig. 5. 



Fig. 6. 






Fiar. 8. 



Fiar. 9. 



9 ; 

The Rose moulds are used in the same way, always being 
careful to turn them on one side in taking them out of the 
hot wax, to have the drop of wax go to the bottom of the 
leaf, thus making it perfect. 

The Morning Glory mould is dipped into the wax and 
taken out perpendicularly, then the drop of wax will re- 
main at the tip end of it. The best way to remove the wax 
from that mould is to transfer it into the left hand and put 
the thumb and two first fingers of the right hand round 
the mould and press the wax gently all around till it comes 
apart from the mould, as shown in Fig. 11. 

A little practice will soon give the student the idea of 
the best way to remove the wax from the mould. 

Do not dip more than three parts of the mould into the 
wax. 

The Carnation Pink mould is used exactly as the Morn- 
ing Glory mould ; and so is the mould for the Lily of the 
Valley, with the exception that less than the fourth part of 
this last mould is dipped into the cup of hot wax. 



CHAPTER II. 



THE ROSE AN"!) BUD. 



Make a small hook at the end of one stem wire, and 
then cover it with green sheet-wax. The hook is neces- 
sary to prevent the Rose leaves from slipping in pressing 
them together. Then dip the small Rose mould (Fig. 5), 
into the wax, and thus make a small Rose leaf; the next 
thing is to place that leaf upon the stem ; for that purpose 
you hold your covered wire with the left hand near the 
hook, and place the leaf upon that part of the stem, being 
careful to stick on the stem that part of the leaf where the 
drop of wax is, and you will find that the wax is so thor- 
oughly adhesive that it requires but to press it gently on 
the stem to make it stick well; when your leaf is thus 
placed on the stem, you close it in rolling it around the 
stem in order to hide it and give a more natural shape to 
the flower. The wax is so pliable that yon will experience 
no difficulty in giving to the leaves that shape which is so 
desirable, to avoid stiffness. 

You proceed by dipping the same mould in the water ; 
then make the second leaf and stick it in the same manner 
on the stem, but avoid closing it as much as the first leaf. 
Fig. 12 will show where to place this second leaf, thus 
illustrating the way of putting them together. 

You continue in the same manner till you have made 
about three leaves more from this same small mould, mak- 
ing altogether five leaves; then you proceed with the 
second sized mould, which is the smaller end of mould Fig. 



PLATE II. 




Fig-. 10. 




Fig. 11. 



11 

6, and make about the same quantity of leaves as you have 
done from the first mould, and so on with the third and 
fourth sizes — making altogether about twenty leaves. 

It is better to have less, than more than that quantity 
of leaves to form the Rose. 

If you wish to have a full-blown Rose, you alter the ar- 
rangement of one or two leaves made from the largest 
mould, in this way : instead of putting the hollow of the 
leaf over the other leaves as you have done throughout the 
Rose, you put the hollow outside, and it will look exactly 
as if that leaf would fall. 

To finish the Rose, it requires now but the calyx, which 
is formed from the green sheet-wax. See Fig. 13 for the 
arrangement. 

A half-blown bud is made exactly as the Rose, but from 
the two first moulds only, and finished with the calyx. 
See Fig. 13. 

The closed bud is made in the following manner : You 
place on your wire a small Rose leaf as for the Rose, and 
taking your first sized mould, you dip about one third of 
the side of it into the hot wax — that is to say that instead 
of dipping the mould flat, you dip it on the side, thus mak- 
ing a kind of shell. You make four of these shells and 
place them around the first leaf, which is already on the 
stem. Fig. 13 shows this closed Rose bud. For making 
the green leaves, read Chapter XI, page 25. 



12 



ROSE. 

Sweet Rose, when summer sunbeams play 
On lovely flowers on every side, 

Thou, then the gayest of the gay, 
Blushest, the garden's fairest pride. 

And though when summer days are o'er, 
(Alas, that lovely things should fade) 

Thy beauty and thy blush no more 
Are in our gay parteres displayed. 

Yet then, the fall'n and wither'd leaves 
Retain their well known rich perfume ; 

And e'en a faded rose-bud gives 
An useful moral from its tomb. 

The fairest form must fade ; but worth 
Will still survive though beauty dies ; 

When beaUty stoops to kindred earth, 
Virtue immortal seeks the skies. 



PLATE III. 





Fig. 14. 




Fio-. 12. 



Fig". 15. 



CHAPTER III. 



THE POND OR WATER LILY. 



An extensive locality of this plant exists npon the Sara- 
toga Lake ; its surface, for a quarter of a mile, may be seen 
whitened by these lilies, occasionally intermixed with the 
yellow lilies, and the rich blue of the Pontederia, another 
beautiful aquatic plant. 

This beautiful flower may be imitated with great ex- 
actness. I shall choose for this chapter the common Lily 
of our rivers, as being the best known. 

An extra thick wire for the stein is necessary, or two 
ordinary ones put together and covered over with green 
sheet-wax will do as well. Do not forget to make a small 
hook at the upper end of the wire to prevent the leaves 
from slipping upward in putting them together. 

For the centre of the Lily, you must have yellow and 
orange sheet- wax. You take an ordinary sheet of yellow 
wax and divide the length into three parts ; put one of 
these parts into your left hand, and with a pair of scissors 
cut strips as shown in Fig 14, and then pinch the top of each 
strip with the thumb and first finger ; roll this around the 
stem from the base of those strips. When placed upon 
the stem, press the centre with the palm of your hand, to 
form a kind of ball, to imitate the natural centre of the Lily. 

You proceed by taking the same quantity of orange 
sheet-wax and indent it with your scissors as shown in 
Fig. 15, and after having pinched the ends, you place this 



14 



around the yellow centre, allowing the orange points to 
stand erect. 

Then take your first mould, Fig. 1, by the wire, and dip 
it in the hot white wax, taking it out instantly, being care- 
ful to turn it with the larger end downward, to have the 
drop go there. 

Be careful, also, not to dip this mould over the flat part 
of it, as it would make the leaf too large. 

You place this first leaf on the wire and over the centre 
by cementing it with that end of the leaf where the drop 
of wax is ; make another small leaf and place it opposite the 
first one in the same way ; then a third and a fourth be- 
tween the two first ones, and make four more leaves from 
the same first sized mould, thus making eight small point- 
ed leaves. 

Never make a new leaf until you are qnite sure that you 
have cemented the others well on the stem. 

After this, you take the second sized mould and make 
eight more leaves from it, being careful to let the drop of 
wax run to the smallest end of the mould ; the top of the 
leaves will then be round, in contrast with the other leaves, 
which are pointed. Dip about a third of your mould into 
the hot wax. 

Make eight more leaves from mould No. 3, and let the 
drop of wax run to the round part ; then make eight more 
leaves from the largest mould, letting the drop of wax run 
to the round part, so that the leaves from the two last 
moulds will be pointed at the top. 

The four leaves for the calyx are made from the largest 
mould, dipping it first in the white and then in the green 
hot wax. 

Mix a small quantity of Burnt Umber with the same 
amount of Carmine, and rub it on the outside of the four 
leaves making the calyx. 

The two colors thus mixed will be found useful also for 
the Pond Lily pads or leaves. 



PLATE IV. 




Fiff. V.i. 



15 



The bud is made with the same centre, and with sixteen 
leaves from the two first sized moulds, and the four leaves 
for the calyx are made from the second sized mould, thus 
making them round at the top. 

Paint the calyx of the bud in the same manner as for the 
flowers. 



CHAPTER IV. 



THE LILY OF THE VALLEY. 



This graceful little flower is made from mould No. !». 
You dip a very small portion of this mould in the white 
wax; dip to the ridge part of the mould; make about 
eight of these coatings of wax; then cut the same quantity 
of spool-wire, about 1^ inch long, and another piece of 
spool-wire, about three inches long, for the stalk, and dip 
the top of the eight small wires into hot yellow wax, tak- 
ing them out quickly, thus making very small balls of wax. 
This will imitate the pollen ; and, to put it into the interior 
of the flower, it is best to make a small hole with a heated 
wire in the centre of the flower, and to pass the small wire 
with the pollen into it. Draw it tight, so that the small 
yellow ball touches the interior of the flower ; cover the 
stem with green wax. The buds are best imitated by roll- 
ing some yellow wax around the top of the stems, and dip- 
ping into white wax. You then take each bell-like flower 
apart, and pinch four sides, which will prevent the bells 
from being quite so open. 

This being done lightly, it will resemble much the 
natural flower ; these will now require arranging on the 
long stalk, one of the smallest buds at the top, the rest fol- 
lowing on either side, imitating, of course, the arrangement 
observable in the natural flower. 

The student will notice that this requires now but the 
green leaves, which are long and narrow, and are made 
as explained in Chapter XI. 



17 



LILY OF THE VALLEY. 



O, what a lovely moral tells, ; 
The lily with its silver bells, 
'Tis said they ring on summer nights, 
Summoning all the fairy sprites, I 
To meet their tiny king and queen, ' 
Under the oak or on the green. 
If so, it surely is to bless- 
How could the lily call to less ? 
To us of duller sense 'tis mute, 
Yet eloquent as poet's lute. 

Low in the vale retired it lies 
Shunning the gaze of vagrant eyes ; 
Close to its own dear parent earth 
It clings, the type of modest worth, 
But hidden, though, in hood of green, 
Too beautiful to be unseen ; 
( )ft is it sought by those who prize 
The modesty which fools despise ; 
Oft is it found by the proud few, 
Who can esteem its virgin hue, 
And leave the flowers of gaudier dye. 
O'er the sweet valley flower to sigh. 

Oh, is not this a happier fate 
Thau one short hour of pride elate ; 
Than one bright, gaudy, sunny day. 
In blue and scarlet, and away- 
Some may admire, but few can prize 
The flaunting flowers of many dyes. 
But all will seek the gentle one 
Winch seems the general gaze to shun ; 
Nor breathes its sigh of fragrance sweet 
But to her lover at her feet. 

Maidens, scorn not this humble tale 
Of the sweet Lily of the Vale. 



CHAPTER V. 



THE MORNTNG GLORY. 



The Convolvulus, or Morning Glory, is made from mould 
No. 7, by dipping three parts of it into white wax, and re- 
moving as shown in Fig. 11. 

You then color your Morning Glory with a brush dipped 
in dry paint, though I prefer to rub it on with the first 
finger. 

Some Morning Glories have narrow colored stripes, and 
others are colored nearly all over. The colors most observ- 
able in Morning Glories are blue, purple and pink. 

Take a long piece of spool-wire and fasten to one end of 
it, with a little piece of wax, four stamens folded in the 
middle, and one not folded, thus making eight heads of 
stamens together, and one single head, longer than the 
others. The color of the stamens must be according to the 
color of the flower. 

Having made a small hole through your Morning Glory, 
you pass the spool-wire through, and draw it tight from the 
outside, so that the stamens remain stationary in the cen- 
tre. You then fix four small calyx, and, taking an ordi- 
nary pencil, you twist the wire around it, and the flower 
is made. 

A spray of Morning Glories, of different colors, inter- 
woven with ivy leaves and Morning Glory leaves, looks 
very pretty around rustic baskets, etc. 



Id 



IVY CONVOLVULUS. 



Where stocks and harebells blossoming, 
Shed fragrance o'er a flow'ry bed ; 

A sapling of the last year's spring 
Weaved to the wind its feeble head. 

And oft it dropped a tear, as though 
It wept, because it upward grew, 

And bent a frequent look below, 
As loth to bid the sweets adieu. 

But flowers will fade, and one by one 
Did each its scent or beauty lose ; 

Now where the rose's blushes gone. 
And faded now the tulip's hues. 

Fair, fragile, and inconstant friends ; i 
A summer pair, they all were gone ; 

And as the oak tree upward tends. 
It stands deserted and alone. 

And so had liv'd, and so deeay'd. 
But, springing from its wither'd bough. 

An Ivy spread its mantling shade. 
And bursting, blossoms o'er it now. 

And the two friends so closely twine. 

The tree supports— the flower adorns : 
The oak need not for youth repine, 

Nor the frail Ivy fear the storms. 

And thus should friendship ever be 
Founded on qualities which last, 

That it may live on sympathy, 
When beauty and youth are pa<t. 



CHAPTER VI. 



THE DARK CLOVE PINK. 



This dark, rich-colored flower may be easily imitated, 
and is most effective in contrast with other most delicate- 
tinted flowers. 

It is made with mould No. 8, by dipping the three-quar- 
ters of it into white wax, and removed from the mould as 
shown in Fig. 1 1 . Make four of these coatings. 

A rather ragged or serrated edge must be given with 
the scissors, and when thus clipped all around, cut it 
right through on one side, that is to say, cut from the edge 
to the bottom of the bell on one side only, and cut the 
three other coatings in the same manner. You then pro- 
ceed by coloring the coatings with Carmine on both sides 
with a small brush or finger. 

Or you may obtain this color by squeezing some car- 
mine oil paint into a cup of white wax and make the coat- 
ings from it. 

For the foundation, take a piece of stem-wire, covered 
with green sheet-wax, and, on this, place the two anthers, 
or horns, cut from white paper and dipped into white wax ; 
then place the four petals around this, bending them back- 
ward, and avoiding anything approaching stiffness in the 
arrangement. 

After the petals are placed on, make the seed-cuj) ; for 
this you take an ordinary pencil, and having scraped the 
color with a knife about three-fourths of an inch, you let 



21 ' 

it soak in water for a few minutes, and having melted some 
green wax, but not t?)o warm, as it would make the seed- 
cup too thin, you dip your pencil in it and take it out 
quickly ; if it is still too thin you dip it once more in the 
wax which will make two coatings one over the other, and 
having removed from the pencil, you cut them with the 
scissors to make the four various parts of the calyx. 

Almost any shade,* from scarlet to deep purple, is found 
in these flowers, and all may be, with a little care, easily 
produced. 

If you wish to make a varegated pink, you make the 
petals from white wax, and when clipped all around, you 
color, with a small brush, a few stripes, very narrow, on 
each petal with carmine, and finish as explained for the 
clove carnation. 



CHAPTER VII. 



The Tuberose. 



The Tuberose is best imitated from the smallest Pond 
jily mould. Having covered your wire with your sheet 
pax, you roll some white wax around the top of it, thus 
aaking a kind of ball to imitate the pollen, and proceed by 
naking the petals from the small pond lily mould dipped 
n white wax. 

Place these petals around the pollen. The outside leaves 
nust be gracefully bent backward and a little curled. 

You finish it by dipping the part cemented on the stem 
rery slightly in hot green wax, to make a kind of calyx. 

This flower is very nice in a boquet, its whiteness must 
>e perfect. 



23 



TUBEROSE. 



First fair floweret of the year, 
* 'Mid thy white and savory hed, 
Welcome spring's first harbinger, 
Gold-tip Tuberose, rear thy head. 

Not the nipping northern fear, 
Let not frost or snow alarm ; 

Through the wintry waste appear; 
I will shelter thee from harm. 

Happy harbinger of spring, 
See appear its golden rays ; 

And, sweet floweret, seems to bring 
Hopes of warmer, brighter days. 

And so we often find there is, 
E'en in hours of deepest care, 

Sweet forerunning hopes of bliss, 
Warning, guarding from despair. 



CHAPTER VIII. 



The White Camelia. 



This beautiful flower can be well imitated by using the 
rose moulds. You firstly roll some white wax around the 
stem, making a small ball as large as the end of the little 
finger, and then dip it into the cup of hot white wax, to 
make it perfectly pure. Then make four small leaves from 
the first sized rose mould, and place them around this ball, 
but rather low, so that they do not go over the ball more 
than a third of an inch. Make four more leaves from the 
same mould, and in placing them on the stem you must 
draw them backward in holding the fastening part of each 
leaf firmly over the stem with your left hand, so that it 
does not come apart from the stem ; those few leaves must 
be drawn down from the edge till they are almost in a 
horizontal line, then take the second sized mould and make 
four more leaves from it, and place them horizontally as 
the others, and continue with the two largest moulds in 
making four leaves from each. Then finish by making a 
very small calyx, and make a spray of green leaves. It is 
very important to have perfectly pure wax for this flower. 



CHAPTER IX. 



The Fuschia. 



The Fuschia is made from the smallest rose mould and 
the smallest pond lily mould. You take a piece of spool 
wire and fasten to one end of it eight stamens and one 
longer than the rest, as for the morning glory ; then make 
the four petals of the corolla from the small rose mould, 
in dipping only one half of the flat part in white wax, 
place those eight leaves gracefully around the stamens. 
The four sepals of calyx are made from the small pond 
lily mould, by dipping in the white wax the flat part of 
it only ; place these around the petals. 

To finish with the body of the flower, you dip the pen- 
cil as for the pink's seed-cup, but into white wax, about 
half an inch ; pass the wire through it, it will then hide 
that part of the flower where the sepals are fastened to 
the wire ; give a nice curve to those sepals. Dip in green 
wax the top of the body to make the small seed-cup. 

Fuschias are of many different colors. A very delicate one 
is the petals or centre being white, and the four sepals and 
body pink madder ; they must be painted before placed on 
the stem with a "small brush or finger; give a delicate shade 
of green to the points. 

>Some others have a crimson centre and white . outside 
leaves. 

Others have a beautiful purple centre and crimson out- 
side. 
*2 



26 

The bud is made on the same kind of wire as the flower, 
without any stamens; the centre may be omitted as it 
would be covered over by the outside leaves which meet at 
the points, thus hiding the interior. 

A nice spray can be made with the green leaves on an 
extra strong and long wire, covered with green sheet wax, 
and to the end of it you attach the two smallest buds and 
thetwo smallest leaves, you may secure them on the large 
stem with a very fine piece of thread, covered over with 
green sheet wax till the junction of the next two leaves; 
then two more buds or flowers, and so on ; the buds always 
at the top of the spray. 



27 



FUSCHIA. 



Beside the rosy bower of love, 

Blest with the smile of sunny skies, 
With sweets around it and above, 
The drooping- Fuschia poured its sighs. 

For the gay summer time had passed, 
And brought no blossom to its bough ; 

And Autumn plucked, with envious haste, 
The fading flowers from his brow. 

' O will the waning year pass by, 

Scattering on all around one bloom, 
While I unblest, unfavored die, 
No blush, no blossom, no perfume. 

While ever bounteous nature showers 
Its rainbow loveliness around ; 

And e'en the wreck of summer flowers 
Strews with gay beauty the rich ground. 

Must I, poor unimpassioned flower, 
Thus coldly live, and nun-like die, 

Growing by Love's own rosy bower, 
Without one glance from his dear eye." 

Just then flew by the wayward child, 

And thus the pensive Fuschia mourned, 
And the capricious urchin smiled, 
As to the plant his arrow turned. 

The bolt had scarcely left his bow, 
'Ere pendent pearls on each branch move, 

Which, changed to his own tint, are now 
The emblems of " accepted love." 



CHAPTER X. 



The Sweet Pea. 



This delicate flower is the easiest to make. 

Make it on spool wire. 

Make from the smallest rose mould and white wax three 
small leaves ; cut the first one all around to make it about 
half the size from what it was before, cut the second one, 
to have it a little larger and leave the third one the full 
size, as taken from the mould, and proceed by coloring the 
two first ones with pink madder, the largest leaf remain- 
ing white. You then stick the smallest leaf on the stem 
and bring the edges together, which will make one sharp 
edge in front, then place the second leaf at the back of the 
first one and stick it on the wire, pinch it at the top, from 
the back, to curve that leaf inward, on each side of the 
first one. 

You then place the third leaf on the stem at the back of 
the two first ones, with the hollow part backward in con- 
trast with the others. 

Finish it by adding four little pieces of sheet wax for 
the calyx. 

Some sweet peas have the three leaves colored purple. 



29 



SWEET PEA. 

My little fragile favorite, whither art thou tending ? 
Thy butterfly-like blossoms, why thus are they sporting ? 
Where are now thy pliant little tendrils wending ; 
Whither are they wandering, or what are they com ting? 

I have seen roses bloom — I too have seen lilies, 
Primroses and cowslips, pinks and daffodillies ; 
Some excel in beauty, some enchant by meekness, 
Little flower, they tell me thy charm is in thy weakness. 

Even from thy birth, of flowers or plants the weakest, 
Long ere thy blossoms burst, a firm support thou seekest; 
And as around thy prop, thou thy small tendrils wreathest, 
O. all the sweetness there, of thy fragrant soul thou breathest. 

Sweet breath — sweet flower — sweet weakness, ever clinging 
To the one chosen prop from the beginning — 
O surely love is here! and though shadowed but in flowers, 
Each breath, each slightest tint of -the all beautiful" is ours. 



CHAPTER XL 



The Green and Autumn Leaves. 



Brass moulds are indispensable to make those leaves. 

Take for instance the rose leaf mould (brass) and dip it in 
cold water, then take a sheet of green wax and place it on 
the back of the mould, that is where the veins are most 
conspicuous ; press the wax with the thumb on every part of 
the brass mould, then take a piece of spool wire and place 
it half way on the middle of the wax which is on the 
mould, then put another sheet of wax over the first one, 
covering of course the stem. 

To have a well made leaf, it then requires to press well 
this second sheet of wax upon the first one, in order to 
take all the impressions of the brass mould ; when this is 
done you press your thumb all around the sharp edge of 
the mould, this will separate all the wax around the mould. 

The next thing is to remove the leaf (already made) from 
the mould. This will easily come apart by passing the 
thumb all around the edge. 

Never use a brass mould without dipping it into cold 
water, as the wax would adhere to it. 

Every leaf is made in the same manner. You need not 
take two sheets of green wax to make a leaf ; after having 
put one part of a sheet over the mould and placed the 
wire on the ridge part of it, you then fold the other part 
of the sheet wax over it. 



31 

It is very important to press well those two sheets on 
the brass mould, as it will take a very good impression of 
every vein, and will also, when taken out of the mould, 
look much thinner than it would have "done if not properly 
pressed over the mould. 

In winter, the sheet wax is liable to become brittle, it 
can be softened by pressing- it between the hands or passed 
over the fire. 

The fall leaves are made in the same way, but when 
taken off the mould, are painted with carmine, yellow and 
brown, and sometimes blue. 

A good way to produce the fall leaves is to make ' them 
out of yellow instead of green wax, and then to color them 
over. 

There is some variegated sheet wax sold for autumn 
leaves, but I prefer them painted after they are made. 

It is well to cover the stems of leaves with sheet wax to 
hide the cotton, though they can be covered from the hot 
green wax with a small brush. 

The Pond Lily pad is generally glossy ; after having 
painted it as explained in Chapter III, you brush it over 
the color with a brush, or rub it with the fleshy part of 
the hand, and you will obtain that shiny appearance. 



CHAPTER XII. 



Concluding Remarks. 



If the wax is warmer than it should be, the coating on 
the mould will be too thin ; and if too cool the coating will 
be thicker than is desirable. When too cold it should be 
put again over the lamp. The right heat is to be found 
only by practice. 

Before using scissors to cut wax, always dip them in 
cold water. 

If the sheet wax be too brittle, warm it between your 
hands, or over a fire. 

* I have found that a little silver white from the oil tube 
mixed with hot white wax gives that crisp whiteness to the 
Camelia which is so characteristic with that flower. 

AVhen your white wax becomes yellow or dirty, warm it 
over, and pour it over some other colored wax, as your 
white wax must always be perfectly pure. 

When not in use, cover your cups with a piece of linen, 
or turn them over to prevent the dust from spoiling the 
wax. 

Never waste any wax, all clippings can be melted in the 
green cup of wax. 

For the mixing of the colors with the white wax, you 
scatter a small quantity of the color into the hot wax, and 
you stir it with a small brush, and then try if the color is 
right by dipping a mould in the wax, thus making a leaf ; 
if you have put too much color into the wax, you add 
more wax to it, and if the color is too light you add more 
color to it. 



33 



PRICE LIST OF MATERIALS. 



Small Lamp, one burner, 
Large " two " 
Pound of "Wax, 
Vial Chrome Green, 
" " Yellow, 

" Orange Chrome, 
" Rose Madder, 
" Carmine, No. 40 
" Prussian Blue, 
" French Purple, 
" Burnt Umber, 
" Kremitz White, 



50c. 



$0 00 
1 00 

85 



► 10c. each or the 9 bottles for 90 



Brass Moulds for Green Leaves. 



3 Sizes Moulds for Roses, 



2 

2 
3 
2 
3 
3 
3 Camel's Hair Brushes, 4c. each, 

Pale and Dark Greei 
1 " Yellow Sheet Wax, 



Camelias, 
Fuschias, 
Pond Lilies, 
Lilies of the Valley, 

Ivy, 

Geranium, 



> The doz. 1 00 



4 Doz. Pale and Dark Green Sheet Wax 

1 " Yellow ! 

1 " Orange " 

1 Oil Tube Silver White for Camelias, 

1 Spool Wire, - 

1 oz. Stem Wire, - - 

6 Bunches Stamens for 



6 dozen, 



12 

60 

15 
10 
10 
25 



$5 07 



N. B. The above list of materials is what is required by 



34 

each student. The amount being $5.07 in having a large 
lamp, or $4.57 if a small lamp is required. 

All those articles can be sent to any part of the United 
States, and may be paid on delivery, thus saving all trouble. 

Orders promptly attended to. 

Any article used for Wax Flowers always on hand. 



35 




Madame Herman is also the inventor of the beautiful art 
of making Foliage, which is a perfect representation of the 
Natural Leaf, and is made without moulds or scissors. 
Never before been taught in this country. 

It has been pronounced the greatest invention of the day. 

This beautiful art can be learned for three dollars only, 
by buying the Book of Instruction, with many practical 
illustrations, so composed that any child, 10 years of age, 
can learn from the book. 

This is the beautiful method which has been taught so 
successfully in New York by Madame Herman for $10. 

The book is to be had from the author, at 113 West 41st 
Street. 

Sent to any part of the St^+es. 



36 




THE AMERICAN CROSS. 

This beautiful Cross which is an imitation of Parian 
Marble, and which will last a life-time with a little care, 
and is ten inches high, is sold for only $1.50. 




A Beautiful Portrait of Washington in Wax. 

Taken from a painting presented by General Washington 
to a member of the celebrated Chew family, of great re- 
nown (of German town, Pa.), in a handsome oval frame, 11 
inches long, 9 inches wide, for only $5.00. 



INSTRUCTIONS 



METHOD OF 



MAKING WAX FLOWERS. 




Price of this Book, with an entire Set of Moulds, $2.50. 

SOLD AT 

MADAME HERMAN'S, 113 West 41st Street, New York. 

E3F° Agents wanted in every city and town in America. 



TSE GmEaTEST I XV EXT I OX OF THE PdY. 



THE BEAUTIFUL ART OF 

AILING FOLIAGB, 

Whieh is a perfect representation of the Natural Leaf, and made 
without Moulds or Scissors. 

Can n;w be learned for only $3.00, by buying the Book of Instruction. 




SOLD BY THE AUTIIOIt, 

MADAME HERMAN, 113 West 41st Street, New York. 






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